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Haydn: Piano Concertos 2, 9 & 11 - Frantz

Haydn: Piano Concertos 2, 9 & 11 - Frantz

Ars Produktion  ARS 38 057

Stereo/Multichannel Hybrid

Classical


Joseph Haydn: Piano Concertos Nos. 2, 9 & 11, Quintet in E flat major

Caspar Frantz
Solistenensemble
Kaleidoskop

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Review by John Miller - June 3, 2009

Haydn was a very competent yet work-a-day keyboard player, so he had no real need to write concertos for himself, as did Mozart and Beethoven. In any case, concertos were of much less importance to his mid-C18th employers than symphonies and operas.

Hoboken's catalogue of Haydn's works lists some 14 concertante works involving keyboard instruments, but modern research suggests that eight of these are by other composers, and challenges the authenticity of several of the remainder. Apart from one undoubted organ concerto, the concertos were written for harpsichord, although they are often played on the piano. In the present collection, the popular Concerto in D major, Hob.XVIII:11 is fully authenticated, the Concerto in D major, Hob.XVIII:2 is authentic but originally for organ and the Concerto in G major, Hob.XVIII:9 appears in a Breitkopf Catalogue as being by Haydn, although some scholars doubt its authenticity. The final work on the disk, Divertimento in E flat major, Hob.XIV:1 was entered by Haydn in his own catalogue as a 'concerto' for piano, horns, violin and cello, but is clearly a chamber piece.

Although none of the keyboard works are first-class Haydn, they are invariably enjoyable and entertaining, especially in such vibrant and stylish interpretations as these. The Soloistenensemble Kaleidoskop is a Berlin-based chamber orchestra of young players. Although they use modern instruments, they play in HIP style, strings with minimal vibrato, and employ a pair of natural (i.e. valveless) horns in Hob.XIV:1.

Pianist Caspar Frantz directs from the piano (as Haydn would), and although using a modern concert grand, uses a light touch with clear articulation. He is a natural Haydn player, and although he does little or no extempore ornamentation of his part, he plays his own cadenzas, which are perfectly apt. The later Concerto in D major, Hob.XVIII:11 is pure delight, easily a rival to Andsnes' RBCD performance with the Norwegian Chamber Orchestra. Its sunny Vivace first movement bubbles with high spirits, Haydn's changing harmony interludes passing like clouds across the sky. The slow movement is given a songful pastoral air, with a simple yet expressive and beautifully poised solo aria supported by contented strings. And the famous Hungarian Rondo finale is buoyantly fleet-footed; with many cheeky gestures and an earthy gypsy interlude. It gallops to a close with a brilliant coda which made me laugh out loud.

It is certainly a treat to hear the rarely-recorded Divertimento in E flat, especially with the two natural horns added to the piano trio. This was part of Haydn's experimentation with the piano trio format, and also a product of his progressive emancipation of orchestral horns from their simple accompanying parts. The horns in this Divertimento are given technically very difficult parts, and also have to join in the dialogue with piano and strings. Both players manage excellently - one can imagine that the Esterhazy Prince would have been amazed at Haydn's inventiveness.

Ars' DSD recording is crystal clear, with a wide sound stage, and a well-balanced piano which never overwhelms the small string band. There is a gentle ambience which is accurately reproduced in multichannel.

This is an exceptionally well-played Haydn disk to add to the present Anniversary celebrations, especially as it strays somewhat off the well-trodden repertoire path.

Copyright © 2009 John Miller and HRAudio.net

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